Constant Nieuwenhuys (Dutch,1920-2005)
Dieren
lithograph
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Aart Klein - Constant playing guitar in his studio, c. 1962
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Nouveau retour à mon projet de présenter la plupart de mes 55500 photos (et des brouettes). Plus trop loin du présent….
2016. Marseille en octobre, Au Musée Cantini, une expo : “Le Rêve”:
- Jacques Hérold : “La Femmoiselle”
- Victor Brauner : “Conciliation Extrême”
- Constant Nieuwenhuys : “Le Cauchemar”
- Germaine Richier : “'L'Araignée I”
- André Masson : “Antille”
- Cf 1
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Constant, Ontwerp voor Zigeunerkamp (Projet pour un camp de Tziganes), 1957.
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New Babylon,
Constant Nieuwenhuys
New Babylon is an anti-capitalist city perceved and designed in 1959-74 as a future potentiality by visual artist Constant Nieuwenhuys.
Origin of the name
Initially known as Dériville (from "ville dérivée", literally, "drift city"), it was later renamed New Babylon.
Henri Lefebvre explained: "a New Babylon -- a provocative name, since in the Christian tradition Babylon is a figure of evil. New Babylon was to be the figure of good that took the name of the cursed city and transformed itself into the city of the future."
A utopian blueprint
In 1956, Western countries were at the dawn of a magmatic period that would reach its peak in the socio-political turmoil of 1968. During that year, the avant-garde Dutch artist Constant Nieuwenhuys started to work on an utopical project named New Babylon: a radical attempt to re-imagine the urban landscape and to question fundamental principles of architecture. New Babylon was a speculative city envisaged through media like collages, litographs and maps. This imaginary city was designed as:
“A decentered, multi-layered space for living, with underground and ground levels, as well as numerous layers above ground and terraces as the final icing. Configured as a rhizomatic network of huge links, it was made of a series of interlocking platforms raised above the Earth’s surface upon pilotis. These were built into various autonomous yet connected units—called sectors.” (Source)
This vision was born from a milieu of different perspectives, such as early cybernetics, 60’s urban subcultures, and artistic avant-garde movements, such as the Situationist group, to which Constant belonged to. New Babylon was planned for a ‘ludic’ society, where humanity is free from waged work and free to engage in all kinds of creative activities.
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Constant Nieuwenhuys (1920-2005) Orpheus with animals, 1981. Etching, 41,5 x 39,5 cm.
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El despertar venidero está, como el caballo de madera de los griegos, en la Troya de lo onírico.
Walter Benjamin, Libro de los Pasajes (K2,4: 397)
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Mülteci sorunu ve Kozmopolitizm
Türkiye’de mülteci sorununun yoğun şekilde yaşandığı şehirlerimizi ve kent kültürünü, göç olgusu ve metaforu ile birlikte düşünmek bize hangi fırsatları sunar? Kentlerimizden başlayarak, kültüre ve toplumsal yaşama şekil veren bu “olay”, bizi nasıl etkiliyor? Mülteci krizi ve göç olgusu kültürümüzle nasıl ilişkilenecek?
Göç olgusu, ne rakamlara, ne de sosyolojik olgulara indirgenemiyor. Çünkü…
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Constant Nieuwenhuys (Dutch,1920-2005)
Mother and Child, 1995
oil on canvas
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Constant Nieuwenhuys, New Babylon, Sectors in the Mountains, 1967
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Constant Nieuwenhuys - Bomb, 1950
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